Te Kaharoa (E-Journal)
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Strawberry
Get PDFPeering out from behind the low clouds in the foggy night sky, the full moon’s light shone invitingly upon the back doorstep. As I sat under the silver tone of the moon, memories flooded my mind; the times when I was just a little girl eating strawberries that belonged to the crop next door. When no one was looking, I would go to the back of the yard where a tall wooden fence separated our house from the strawberry farm on the other side. If it wasn’t such a pretty fence, I would be annoyed with it. But I liked its colour, its smoothness, and its strength
Kapa Haka in the 21st century: Reaching past the ‘powers that be’ to grow the art form
Get PDFIn this paper I will explore what is it in Kapa Haka (Māori Performing Arts) that maintains or retains ‘old ways of knowing’ where, instead, it could present itself today in ‘new ways of doing’. The question arises: Why, in this ‘new’ age of Kapa Haka, do Kapa Haka tutors and performers insist on reproducing onstage, components of ‘old’ tikanga marae (customary marae practices)? Is it because some tutors and performers have not yet reconciled with the fact that Kapa Haka taken to the stage is theatre and therefore opens the way for a performance that is not based on tikanga? Why, in this millennium, are the same judging processes of Te Matatini[1] that have been in place for some forty years still being maintained. Why have we not explored further and implemented a new competitive judging system
Manu Tū Rangatira
Get PDFFrom this awesome world of being a Tangata Whenua and being enlightened in all aspects of Te Ao maarama from my Whaea, and many Rangatira I connected with I set forth on my journey into the world of light and discovered our Manu Rangatira. The kōrero being passed down to me flawless as the Kūkupa Harakore, about our Manu being the first to lay their foundation upon the whenua including their tikanga. Being created by Tāne before the ira tangata, they are our tuākana, our elders. My tūpuna had so much manaakitanga for our manu that they followed in their footsteps, the many tikanga of the bush and land and also seasonal cycles for food gathering and natural survival. Aotearoa was a land of Manu whenua. Many could fly, but as there were no real predators around, many chose to walk through the great forests of Tāne. As I filled my kete with all these treasures from meeting many great Pouako along my journey of life, I wove the wānanga of these Manu with the way they moved and walked as Rangatira on our whenua, thus creating....
Identity, Memory and Legacy: Indigenous Taiwan
Get PDFSixteen Indigenous peoples/nations have been officially recognized by Taiwan’s government: Amis (Pangcah), Atayal, Paiwan, Bunun, Puyuma, Rukai, Tsou, Saisiyat, Yami (Tao), Thao, Kavalan, Truku, Sakizaya, Seediq, Kla'alua and Kanakanavu. Additionally, some ten nations of the plains Indigenous peoples (such as Siraya, and Makatao) are obtaining recognition for their lost Indigenous status since the work of Transitional Justice initiated by President Tsai Ing-wen. Unlike the later migrants who came from southeastern China, Taiwan’s Indigenous peoples belong to the larger Austronesian grouping of peoples who have spread across all of the Pacific Ocean, to Southeast Asia and across the Indian Ocean to Madagascar. According to official records, the Indigenous population of Taiwan is close to 560,000, constituting 2.24 per cent of the island’s total population
Development and contemporary concepts of Taiwanese Indigenous music and dance
Get PDFIn ancient times, the ritual music and dances of Taiwanese Indigenous peoples expressed desire and reverence for the universe and the gods. During seasonal rituals, tribes often performed rituals, ceremonies, songs, and dances with heaven and earth as their stage and the night as their setting. Rituals, ceremonies, music, and dance are a cultural embodiment of tribal ethics and ethnic history characterized by honour and awe of the gods and entertainment for the performers and the spectators. Indigenous rituals, ceremonies, music, and dance embody the memories of ancestors and the ruminations and passing on of the cultural matrix. They also represent a social field for the moral life and care of tribes. Despite the fact that early aborigines had no written language, the cultural embodiment and personal practice of rituals, ceremonies, music, and dance represent a fundamental carrier of tribal ethics and collective memory
My Reflections on Indigeneity
Get PDFIn this philosophical paper, I present my views on the notion of indigeneity – I relay my understanding, interpretation, and definition of “indigeneity” and justify the applicability of this definition to the New Zealand context and my experience as a practitioner. I also compare this definition with three others from different authors: Firstly, Guenther (2006) discussed the concept of indigeneity and identified two key elements including a link to a history of hunting and gathering and having a weak political position.
Secondly, McCormack (2012), reflected on the social identities study of race, nation, and culture, and discussed indigeneity as a process from the perspective of Māori claims and neoliberalism. McCormack (2012) looks at Indigeneity through various lenses: as a process intertwined with property struggles, dynamically constituted and reconstituted about the prevailing political economy, facilitated and inhibited by state organisations, and as both primordial and depending. Thirdly, Merlan (2009), looked at indigeneity from global and local perspectives. The term indigeneity, long used to distinguish between those who are native and others in specific locales, has also become a term for a social and cultural category, presupposing a world where are contrasted indigenous people to various others (Merlan, 2009). The three definitions are from different individuals with varying perspectives. In this paper, I present my understanding of indigeneity and indigenous philosophy that aligns with both my past experiences and current practice.  
He Raranga Tangata: A Māori and Indigenous master’s research supervision model derived from our experiences of the Master of Applied Indigenous Knowledge programme at Te Wānanga o Aotearoa in Māngere in 2019
Get PDFIn 2019, Byron Rangiwai group-supervised the master’s work of ten Master of Applied Indigenous Knowledge students at Te Wānanga o Aotearoa, Māngere. Drawing upon the supervision experiences of Byron and his students—the Reverend Mahaki Albert (Māori), Tania Bell (Māori), William Cuthers (Cook Islands Māori/Māori), Fritz Filisi (Samoan), Vania Hotereni (Māori), Celia Lambert (Māori), Rosalie Leuluai (Māori), Latoia Sasa-Tepania (Samoan/Māori), Daena Walker (Māori) and Abann Yor (Sudanese)—this paper will present a novel model of Māori and Indigenous research supervision called He Raranga Tangata. The name of the model—He Raranga Tangata—was gifted by the Reverend Mahaki Albert and refers to the weaving together of people. First, we give a brief overview of the Master of Applied Indigenous Knowledge programme. Second, we identify a gap in the literature with regard to Māori supervision of Māori and Indigenous master’s students. Third, we briefly discuss our experiences as supervisor and students. Fourth, we present our He Raranga Tangata model for Māori and Indigenous master’s research supervision
Sisters and SaVAges: Putting the VA in th e Acti.VA.tion
Get PDFSistar S’pacific aka Rosanna Raymond is an innovator of the contemporary Pasifika art scene as a long-standing member of the art collective the Pacific Sisters and founding member of the SaVAge K’lub. Raymond has achieved international renown for her performances, installations, body adornment, and spoken word. A published writer and poet, her works are held by museums and private collectors throughout the UK, USA, Canada, Australia and New Zealand
Waves of identity: Reflections on the terms “indigenous” and “indigeneity”
Get PDFThroughout my childhood upbringing, the term Indigenous was never once used in my household. I identify myself as a Samoa, Maori woman. If someone were to ask me of my birthplace, Aotearoa would be the first name I reply with before New Zealand.
My father, a proud Samoa man, who acknowledges his village of birth being Papasataua, Savaii born o n the island of Samoa; is how he introduces himself. My beautiful mother, who identifies herself as mana wahine born Manaia, Taranaki. A child of the Whakatutu, Tepania whanau line.
Both of my parents never used the terms Indigenous or indigeneity to introduce who they are, or as a sentence starter to explain their connection to land, sea or people.
In recent years, it has come to my attention the term Indigenous, is not only spoken often in and around my place of study; but also, printed several times within the tertiary provider’s prospectus.
I begin to think; now is an excellent time to explore and look at the relevance, of the term concerning the New Zealand context, field of practice and I as a practitioner.
It is with hopes my findings and personal views, help you the reader, start to think and really look at the types of words people place on you.
After all, who likes being called names. Instead I, myself give the right to a name; then have a n ame give its power to define me.
 
The Peach and the Sky
Get PDFTao laid in bed staring at an old black and white photo of his mother; twirling a little peach-shaped jade pendant between his fingers; a gift given to him by his mother. Tao’s name meant peach in Chinese, he was given the name by his mother; as a baby, he was a chubby and sweet little thing, now, a young 17-year-old man; slim, gaunt and bitter. Tao closed his eyes trying to remember the sweet, fragrant aroma of orange blossoms whenever his mother walked into the room, how gently she spoke, even when angered, her hands; soft and warm against his cheeks as she placed a tender kiss on his forehead. Tao thought of these memories religiously every morning, it made him feel closer to his mother even though they were oceans apart